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Volume 3, Issue 4 (3-2016)
Introduction
Privacy is known as one of the most basic features of Islamic architecture. Home is the most private places for the person so it is essential to provide confidentiality and privacy in it. Islam, Quran Verses and Hadiths of Prophet Mohammad and imams have focused on creating privacy in the houses. In this way, the privacy has been the basic principle on traditional architectures of Iran especially in housing.
Literature Review
Creating privacy is necessary point for people and providing this principle in the home is more important than the other places. Privacy In traditional architecture of Iran has created in both audio and visual kind. This principle has been used in traditional architecture of Iran before Islam but in Islamic architecture has been emphasized it more than before. Quran verses and Hadiths of imams and Prophet Mohammad are the most important references of Islam. So this article has reviewed these references to find the ways of creating privacy in the house.
Methodology
This article is tried to define and understand these objects: the meaning of privacy, reviewing the factors that create privacy in Zinatol Mulk historical house as a distinguished building in Shiraz city, recognizing the confidentiality principle in organizing spaces of this house and introduce the special strategies that used in making privacy. So the privacy principle, Quran verse and Islamic hadiths are reviewed at the first part of the article. This part is used by library resources, articles and internet sites. After that, checking the case study is done with using interview and direct observation from the Zinatol Mulk building. So at first part of article a brief introduction of Zinatol Mulk house has been said then the elements that create privacy in Zinatol Mulk house are reviewed in both audio and visual type.
Discussion
By studying the Quran verses and hadiths can be said that Islam insists on creating privacy especially at home into both audio and visual kind. So providing the privacy is necessary in Islamic architecture. Although this principle was used in Iranian buildings about 6000 years ago in the courtyard houses but the most use is in Islamic architecture. Therefore the successful case study in traditional architecture of Iran has been reviewed to understand the privacy principle. Zinatol Mulk house in Shiraz city was selected for evaluation. Zinatol Mulk house was chosen because of two reasons, first because Shiraz residential architecture is unique and it has productive and rich houses in its traditional architecture and second because this house is one of the most distinguished historical houses in Shiraz. The results also show the special features of confidentiality in this house. The factors that make visual and audio privacy in this house are divided into 4 main methods. These methods are location, proportions, introversion and the hierarchy. Each of these methods have special role in creating privacy in this house.
Results
Audio and visual privacy will be appeared as the introversion, hierarchy, location and proportions principles in the framework of the building. Each of this principles use special ways to provide the confidentiality. The privacy has important role in in Zinatol Mulk house design. So the architecture has emphasized on making privacy in this house. Therefore the hierarchy is much stronger and has more steps than the other houses.
Conclusion
By Checking the Quran Verses and Islamic hadiths that related to privacy and Compliance them with the architectural of Zinatol Mulk house (a distinguished case study in Shiraz city), it obtain that creating confidentiality in the main spaces of this building are as below:
Entry spaces in this House:
The privacy in the entry space has been created by these factors: existence of high walls around the buildings, losing the height of the corridor than the vestibule, the lack of windows in the exterior elevation, retreat the entrance to the alley, increasing the thickness of the around walls and entrance space.
Yard of house:
Privacy in the yard has been provided by these elements: using high walls around the building and in second floor to block the neighbor’s view on the yard, separation of two inside and outside yards and communicate them through an underground connection between Narangestan Qavam and Zinatol Mulk buildings, creating a separate yard for the toilet.
The rooms of house:
The factors that make privacy in the rooms are: locating the entrance perpendicular to the main axis of the yard, using larger and more windows in the gusts room (Shah Neshin) and smaller windows in living room (3 doors room and 5 doors room), recessing the windows of 3 doors room and 5 doors room, locating the 3 doors rooms apart from the public spaces of Home, providing the entrance spaces and patio in front of the rooms, communication between the rooms by the doors, increasing the thickness of walls in more private rooms, lack of openness in the closet room, creating the space hierarchy in the entrance of all the rooms.
Volume 9, Issue 1 (5-2021)
Introduction:
The historical Fabric of Boushehr has a high visual form and performance capacity that has been very influential in the urban landscape. So many special elements and factors can be found in architecture and urbanism of the Boushehr that even is not seen in other neighboring cities with same climate. Shanashir is one of the visual capacity that is vernacular in this place. Today this architectural and vernacular factor is ignoring in construction and it has been forgotten.
Literature review:
The meaning of the Shanashir word is not available in Persian dictionaries. Some scholars believe that this word is equivalent to Shansheel in the Arabic language. Shanashir has been used in architecture of various countries, including Arab countries, North Africa, parts of Europe such as Turkey and Spain and South Asia. Traditional version of Shanashir had many important environmental functions and specific parameters for design through recognized patterns. Shanashir did not provide only a decorative and aesthetic element, but also it was designed to perform many environmental functions like adjustment of lighting, humidity and air flow control, reducing the heat, and playing an essential role in securing privacy. Unfortunately, today this functional element of architecture ignores in the modern building and if it be applied don't abide by these aspects.
Methodology:
The aim of this study was to recognition and rehabilitation of this valuable element of architecture, and the consolidation of its position and value in indigenous architecture of Persian Gulf region, and answers to these questions: What are the principles, features, patterns and performance of Shanashirs in Bushehr? What kinds of Shanashirs are available in Bushehr and what is their difference? In order to answer the research questions, author was conducted to investigate this element of architecture with using the descriptive-analysis methods. So this paper contains the parts are as follows: the theory part that introduces and defines the fundamental of Shanashir, and the field part that reviewing the Typology of Shanashir in historical texture of Bushehr. So the theoretical part of paper, accomplished by using the library resources and the field studies is done by using authentic maps, direct observation of these buildings and interview with experts, old photographer and Homeowners. These historical buildings related to Qajar era. The comparison between these houses shows the difference of Shenashir and their frequency in Bushehr. Among all historical buildings of Bushehr, all of the buildings that have Shanashir and their plans and map are existed, has selected to review so The collection of 17 historic building that have been registered with the Cultural Heritage, Crafts & Tourism Organization and 5 Unregistered building have been reviewed in this article.
Discussion:
In the classification of Shanashir, various factors such as location, different types of form and shape, different structures, varied decorations and also the function which are expected from the Shanshir can be considered in their diversity of them. In the historic building of Bushehr, the exterior Shanashir is usually facing the sea and for the use of vision and a cool sea breeze, but in the internal types, in the four fronts of the building, they have been seen to Creating connections between spaces. In a form typology according to the differences that seen in Shanashir, these elements were examined from three perspectives: plan, facade and perspective. The geometry of Shanashir can be divided into 5 groups of linear, L-shaped, U-shaped, triangular and quadrilateral.
Results:
External Shanashir in Bushehr are usually linear and l-shaped, but the inner Shanashir have a variety of 5 categories. There are three types of fully-worn, semi-open and completely open. Shanashirs are either protruding or flat in the facade of Shanashirs in Bushehr. The appearance of them is different and according to this difference, there are different structures. The diversity of construction methods of Shanashirs is one of characteristics which have led to diversity and beauty of faced in historical fabric. Windows shade or animated shutter are also used in some of Shanashir. The contrast of brown or blue Shanshir on the white facede of building, make it very conspicuous.
Conclusion:
According to the studies that had conducted on the Shanshir of buildings in this research, the authors found the points and characteristics of the Shanshir's element in Bushehr:
Shanshir is essentially an element imported into the Bushehr architecture, but has been changed and identified in accordance with the culture and climate of the country. This architectural element is a functional space that has different functions such as the following:
Climatic reasons such as preventing solar radiation, passive cooling, thermal filter; Aesthetic reasons: Creating variations in the facade, vitality, fluidity and dynamism, readability; cultural reasons: creating the privacy and nuisance vision control; functional reasons: Creating a connection between inside and outside space, flexibility, creating a terrace, vision and landscape.
Volume 9, Issue 2 (7-2021)
The history of Islam in China began when the first ambassador of Islamic caliphate in 654 AD, gained the court of the Chinese emperor. After that Islam has been spread throughout there during a century. In this study, authors try to study about how architectural elements and spatial forms are effected from Islam or Buddhist-Chinese tradition. Then, at the first it must be clear that which symbol are predominant in architectural culture of china. After that with a comparative study with Islamic symbol and spatial arrangement it may be understand the Chinese mosque concept instead of west Asia traditional design, especially with Irano-islamic architecture. Chinese symbols and meanings revolve around good fortune, and positive elements that are inspired of Buddhism, Confucius and taoism. It is the Chinese belief that by filling their lives with lucky objects and images, they increase prosperity and happy circumstances, making their existence joyful and fulfilling. Symbols and signs have graced their architecture, language, artwork, and everyday objects for centuries. In Chinese decorative arts pictured flowers, fruits, and trees are representations for various aspects of life. Knowing the symbolic meaning of a plant enables you to understand the hidden message. Color in Chinese culture refers to the certain values that Chinese culture attaches to colors, like which colors are considered auspicious or inauspicious Most Chinese decorative art are based on its symbolic values. These symbols could be understood and interpreted and only when we do that the true meaning of the objects reveals itself. The purpose of this study is to find the genealogy of symbol between china and Islam semiotic studies. The authors discuss on symbolism in Chinese architecture and then the extent to which these symbols are used in the architecture of mosques in different parts of the country. This research is based on reviewing some mosques in china. Content analysis based on library documents and resources. Finally, the results of this research show that since the arrival of Muslims and the increasing interactions between Chinese with Muslim, monuments of temples and houses The Chinese were used as mosques, which did not include any elements of the architecture of the Islamic Mosque. With the overtime, the primary period of Islamic architecture, these mosques seem to have some Islamic symbol by adding elements such as domes, minarets and arches. Still, in these buildings, Buddhist symbols were seen. In the fourth period of the Islamic architecture of China, similar colors and elements, such as domes, arches, minarets, and nicks, were used in other mosques of the Muslim world in these mosques. Of course, in all over of the china, mosques have always remained in the same traditional and original form. Chinese architects accepted Islamic elements with their national identity the national and religious identity of China is represented in the form of colors and symbols as well as elements of the entrance of the mosques. The symbol of Buddha and Mandala among the elements of Chinese mosques is more than anyone else. Red is seen as an element of the identity of the sector to Chinese architecture in the mosque architecture. This color is not seen in other mosque ornaments. Chinese symbols have become Islamic symbols in Islamic architecture. Some of these symbols are rooted in religious symbols such as Buddha statues, dragons, Phoenix, etc. Form conversion is the most important feature of the Islamic architecture of China. The root of the transformation is a form of ethnic, climatic and geographical dependence. There is a dragon element in the native architecture of China, which has been used in mosques in China as Slimi. Islamic architecture in China can be considered as an example of a consistent architecture of indigenous symbols and the preservation of Islamic values. It is hoped that researchers in future studies will pay attention to the influence of ethnic and native components on the shape of Islamic architecture.
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